On January 1, 1990, Canadian electronics manufacturer Bryston instituted a remarkable warranty program that covered each of their products for a full 20 years. This warranty includes all audio products ever manufactured and sold under the Bryston name. Besides covering parts and labor costs, the company will also pay shipping costs one way. This is all the more significant for their 4B NRB amplifier, which has been in production since 1976. The amp's $2k price, while not cheap, is at the lower end of what well-heeled audiophiles typically pay for amplifiers.

On January 1, 1990, Canadian electronics manufacturer Bryston instituted a remarkable warranty program that covered each of their products for a full 20 years. This warranty includes all audio products ever manufactured and sold under the Bryston name. Besides covering parts and labor costs, the company will also pay shipping costs one way. This is all the more significant for their 4B NRB amplifier, which has been in production since 1976. The amp's $2k price, while not cheap, is at the lower end of what well-heeled audiophiles typically pay for amplifiers.

On January 1, 1990, Canadian electronics manufacturer Bryston instituted a remarkable warranty program that covered each of their products for a full 20 years. This warranty includes all audio products ever manufactured and sold under the Bryston name. Besides covering parts and labor costs, the company will also pay shipping costs one way. This is all the more significant for their 4B NRB amplifier, which has been in production since 1976. The amp's $2k price, while not cheap, is at the lower end of what well-heeled audiophiles typically pay for amplifiers.

On January 1, 1990, Canadian electronics manufacturer Bryston instituted a remarkable warranty program that covered each of their products for a full 20 years. This warranty includes all audio products ever manufactured and sold under the Bryston name. Besides covering parts and labor costs, the company will also pay shipping costs one way. This is all the more significant for their 4B NRB amplifier, which has been in production since 1976. The amp's $2k price, while not cheap, is at the lower end of what well-heeled audiophiles typically pay for amplifiers.

On January 1, 1990, Canadian electronics manufacturer Bryston instituted a remarkable warranty program that covered each of their products for a full 20 years. This warranty includes all audio products ever manufactured and sold under the Bryston name. Besides covering parts and labor costs, the company will also pay shipping costs one way. This is all the more significant for their 4B NRB amplifier, which has been in production since 1976. The amp's $2k price, while not cheap, is at the lower end of what well-heeled audiophiles typically pay for amplifiers.

The $1200 Counterpoint SA-100 amplifier came up to bat fourth in my listening sessions, behind (in order of appearance) the <A HREF="http://www.stereophile.com/solidpoweramps/678">Adcom GFA-555 II</A> (not reviewed here, but sent along by JA for comparison purposes), the <A HREF="http://www.stereophile.com/tubepoweramps/491vtl">VTL Tiny Triode</A> monoblocks, and the <A HREF="http://www.stereophile.com/solidpoweramps/491muse">Muse Model One Hundred</A>. Thus, my progression went from bipolar solid-state to tube to MOSFET, with a wide spread of sonic characteristics between them: stygian bass from the Adcom; uncanny spatial presentation and vocal reproduction from the VTLs; and an overall superior sound from the Muse. I was therefore eager to see where the tube/MOSFET hybrid Counterpoint would fall in this group of very different-sounding amplifiers.

The $1200 Counterpoint SA-100 amplifier came up to bat fourth in my listening sessions, behind (in order of appearance) the <A HREF="http://www.stereophile.com/solidpoweramps/678">Adcom GFA-555 II</A> (not reviewed here, but sent along by JA for comparison purposes), the <A HREF="http://www.stereophile.com/tubepoweramps/491vtl">VTL Tiny Triode</A> monoblocks, and the <A HREF="http://www.stereophile.com/solidpoweramps/491muse">Muse Model One Hundred</A>. Thus, my progression went from bipolar solid-state to tube to MOSFET, with a wide spread of sonic characteristics between them: stygian bass from the Adcom; uncanny spatial presentation and vocal reproduction from the VTLs; and an overall superior sound from the Muse. I was therefore eager to see where the tube/MOSFET hybrid Counterpoint would fall in this group of very different-sounding amplifiers.

The $1200 Counterpoint SA-100 amplifier came up to bat fourth in my listening sessions, behind (in order of appearance) the <A HREF="http://www.stereophile.com/solidpoweramps/678">Adcom GFA-555 II</A> (not reviewed here, but sent along by JA for comparison purposes), the <A HREF="http://www.stereophile.com/tubepoweramps/491vtl">VTL Tiny Triode</A> monoblocks, and the <A HREF="http://www.stereophile.com/solidpoweramps/491muse">Muse Model One Hundred</A>. Thus, my progression went from bipolar solid-state to tube to MOSFET, with a wide spread of sonic characteristics between them: stygian bass from the Adcom; uncanny spatial presentation and vocal reproduction from the VTLs; and an overall superior sound from the Muse. I was therefore eager to see where the tube/MOSFET hybrid Counterpoint would fall in this group of very different-sounding amplifiers.

The $1200 Counterpoint SA-100 amplifier came up to bat fourth in my listening sessions, behind (in order of appearance) the <A HREF="http://www.stereophile.com/solidpoweramps/678">Adcom GFA-555 II</A> (not reviewed here, but sent along by JA for comparison purposes), the <A HREF="http://www.stereophile.com/tubepoweramps/491vtl">VTL Tiny Triode</A> monoblocks, and the <A HREF="http://www.stereophile.com/solidpoweramps/491muse">Muse Model One Hundred</A>. Thus, my progression went from bipolar solid-state to tube to MOSFET, with a wide spread of sonic characteristics between them: stygian bass from the Adcom; uncanny spatial presentation and vocal reproduction from the VTLs; and an overall superior sound from the Muse. I was therefore eager to see where the tube/MOSFET hybrid Counterpoint would fall in this group of very different-sounding amplifiers.

The $1200 Counterpoint SA-100 amplifier came up to bat fourth in my listening sessions, behind (in order of appearance) the <A HREF="http://www.stereophile.com/solidpoweramps/678">Adcom GFA-555 II</A> (not reviewed here, but sent along by JA for comparison purposes), the <A HREF="http://www.stereophile.com/tubepoweramps/491vtl">VTL Tiny Triode</A> monoblocks, and the <A HREF="http://www.stereophile.com/solidpoweramps/491muse">Muse Model One Hundred</A>. Thus, my progression went from bipolar solid-state to tube to MOSFET, with a wide spread of sonic characteristics between them: stygian bass from the Adcom; uncanny spatial presentation and vocal reproduction from the VTLs; and an overall superior sound from the Muse. I was therefore eager to see where the tube/MOSFET hybrid Counterpoint would fall in this group of very different-sounding amplifiers.